Альбом: The Story of Fado
Год выхода: 1997
Жанр: Portugal, Fado, Blues
Кол-во треков: 22
Продолжительность: 00:58:01 min.
Размер: 329 MB
1. Casa da Mariquinhas, A - Alfredo Marceneiro
2. Nao Venhas Tarde - Carlos Ramos
3. Tia Macheta - Berta Carduso
4. Tendinha, A - Herminia Silva
5. Rosinha Dos Limoes, A - Max
6. Rosa Enjeitada - Maria Teresa De Noronha
7. Partir E Morrer Um Pouco - Antonio Dos Santos
8. Foi Na Travessa da Palha - Lucilia do Carmo
9. Foi Deus - Amalia Rodrigues
10. Lisboa a Noite - T. DeMatos
11. Aquela Janela Virada Pro Mar - Tristao De Silva
12. Fado das Ccaldas - Vicente Aguilar Carranza
13. Belos Tempos - Fernando Farina
14. Colchetes de Oiro - Frei Hermano
15. Fadista Louco - Antonio Mourao
16. Saudade Vai-Te Embora - Fernanda Maria
17. Embucado - Joao Ferreira Rosa
18. Amar - Teresa Silva Carvalho
19. Saudade Mal Do Fado - Carlos Do Carmo
20. Arraial - Joao Braga
21. Ate Que a Voz Me Doa - Maria Da Fe
22. Carvalo Ruco - Nuno Da Camara Pereira
What is fado?
Fado (pronounced fadoo) in Portuguese means fate or destiny and embodies the soul and spirit of the Portuguese people. It is one of the oldest styles of urban folk music, a mournful, melancholic style that became popular around the early 1800s in Lisbon, and could be found in tiny hole in the wall taverns, brothels, and street corners. Nowadays, one cannot sing fado on the street corner, as it is illegal. Fado is probably much older than that, and may have been originated from African and Brazilian slave rhythms, blended with the music of the homesick Portuguese sailors who had travelled the world, with some Arabic influences thrown in to the pot. It was the music of the working class of Lisbon, and like the blues music of the American south, was played both for pleasure and the relieve the pain and sorrow, and the unchangeable destinies of everyday life.
Fado was mostly the voice of the poor, and often sung about the trials and tribulations of an overly oppressive government. From 1926 to 1868, during the dictatorship of Salazar fado singers were forced to become professional and could only sing in fado houses, in an attempt to gain control of the content of the lyrics of the fado.